Timberrr!!
Don't know if any luthier-types are interested, but I am disposing of a mahogany table. My guess would date it 70's. Looks solid mahogany to me, top is 3/4" deep, 2 large peices approx 120cm by 100, a few 1-1.5 inch thick supports etc.
failing that use it as a table - seats 8-10! Im amersham, bucks
My parents had a particularly hideous late-Victorian mahogany dining table before they downsized their house a few years back. Before they sold it my mother asked me whether I would like it... so I found a tape measure and measured it. Mum asked if I was seeing if it would fit in our house - I said "no, I'm trying to work out how many guitar bodies I can get out of it". Needless to say I did not get given the table!
I think the legs would have made eight necks as well - huge fat turned things with about 5" square blocks at the headstock, sorry top, end.
"Just because I don't care doesn't mean I don't understand" - Homer Simpson
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ooh you could make a norlin LP Deluxe
......"Bertie is pretty much a zen master..................."
or 3-piece neck blanks - if only i was closer!
although i do have a good stock of reclaimed mahogany already - got a great mantlepiece thats 2.5x9x60" and its really super light
So when making a body, is it undesirable to slap 2x 3/4" pieces together to make something 1.5" thick?
Most 2 or 3 piece bodies seem to have the join along the length of the guitar, yet obviously maple capped mahogony guitars are two slimmer pieces of timber slapped together.
What's the received wisdom regarding tone?
I don't know how common it is but the ltd pine fender custom shop models a few years ago did this with four pieces.
1 large and 1 small glued together then sandwiched to 1 small and 1 large so that the joins between the small and large pieces are on opposite sides of the guitar...if that makes sense. Quite hard to describe in text
Originally Posted by DannyP
its kinda frowned upon - but i have never seen any real reason why other than it being more pieces of wood and less is considered better
gibson did do it on those norlin les pauls, and fender also did it on rosewood telecasters - with a nice maple veneer in between to make it a feature
and lets not forget stuff like alembics - who really started the whole hippy sandwich style
It's funny - when it's like this, it's "laminated", is a feature of expensive instruments, and is assumed to sound better.and lets not forget stuff like alembics - who really started the whole hippy sandwich style
When the layers are only a bit thinner, it's called "ply", is a feature of cheap instruments, and is assumed to sound worse.
At what exact thickness of layer does ply/laminate go from being a tone-killer to a tone-enhancer?
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As far as I've understood the handed down wisdom, it's the quantity of glue/gluing surfaces that deadens tone. Glue being not particularly acoustically tuneful, the more laminations, the more glue, the less tone. That doesn't explain some of the wonderful sounding ply Squires I've tried however!
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Nor does it explain why a '59 Les Paul Standard is arguably the best-sounding electric guitar ever (NB, not my opinion but it's a good illustration!) when it has a glued-together two-piece glued-on top, a glued-in neck, a fingerboard glued to it, and a glued-in truss rod infill.
Compare to a one-piece body (they do exist, although rare) maple-neck Telecaster which only has the truss rod infill and no other gluing.
They both sound good...
And it's worth remembering that a Stradivari violin is glued together as well!
"Just because I don't care doesn't mean I don't understand" - Homer Simpson
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